Category: Film Review

“The Prom” is an adaptation of a 2016 musical, which worked its way from Atlanta to a 2018 shot at Broadway, welcomed by audiences and winning a Drama Desk Award along the way. It tells the tale of four musical theater players from New York City who descend on a small Indiana town currently working to prevent a gay teenager from attending prom with her girlfriend. With broad antics and big tunes, the material seems like a proper fit for Broadway audiences, playing huge to fill the theater space. Director Ryan Murphy doesn’t fully understand how to translate that specialized energy to the screen with “The Prom,” retaining the material’s theatrical presence while trying to preserve sensitivity when it comes to issues of equality and humiliation. Murphy isn’t the guy for this job, and his inability to balance eye-crossing camp and broken hearts turns a well-meaning offering of hope into a hostile viewing experience. Read the rest at Blu-ray.com

“Mank” is a passion project for director David Fincher, who’s been eager to realize a screenplay written by his father, Jack Fincher (who passed away in 2003), for decades, finally receiving a chance to do so by Netflix. One can clearly see why major studios were reluctant to make the movie, with the story examining an obscure time in Hollywood history, while the helmer has chosen to use black and white cinematography and various tech tricks to replicate filmmaking trends of the 1930s and ‘40s. Fincher hasn’t made a feature in six years (last seen with “Gone Girl”), and “Mank” feels like the work of a man trying to satisfy himself instead of the audience. It’s precise in all the Fincher-ian ways, masterfully acted by most of the cast, and details industry experiences and practices previously unexplored. All the puzzle pieces are there to admire, but this isn’t a hypnotic picture with sizzling emotion. It’s wise and snappy, but cold, arriving as something to appreciate more than truly devour. Read the rest at Blu-ray.com

As Hollywood hunts for stories to bring to the screen, “All My Life” emerges as an irresistible idea for a major tearjerker for young audiences not exactly used to hardcore heartache on the screen. The picture is based on the true story of Jennifer Carter and Solomon Chau, a couple headed to a lifetime of love before a cancer diagnosis arrived to ruin their future and torpedo their wedding day. The community drive to give the pair their big day is the hook of the movie, but screenwriter Todd Rosenberg is challenged to provide more shading for the characters to help fill out a feature-length run time. “All My Life” does a lot of stretching to deliver a complete story, often going the philosophical route to remain viable. There’s not a whole lot here, but the endeavor isn’t as melodramatic as its competition, and stars Jessica Rothe and Harry Shum Jr. bring some welcome emotion to their parts, giving the production a few earned feelings as it struggles to find some type of parting message for viewers. Read the rest at Blu-ray.com

It’s hard to deny the formula in play during “Godmothered,” but it’s equally difficult to ignore the charm from the cast as they try to make some magic happen on-screen. Screenwriters Kari Granlund and Melissa Stack come up with a cross between “Elf” and “Enchanted” for this fantasy comedy, trying to make something sincere about the needs of the human heart while periodically issuing scenes of slapstick. The paint-by-numbers approach to the material isn’t reassuring, but the lead performance from Jillian Bell is a good reason to stick with “Godmothered,” finding the actress visibly enjoying her time playing a slightly daffy magical being encountering the crusty wonders of the real world. Laughs are intermittent, but the endeavor aims to please, and often does when Bell is permitted to take command of the story and deliver appealing shenanigans. Read the rest at Blu-ray.com

With “Nomadland,” writer/director Chloe Zhao (“The Rider”) examines the rise of a subculture involving older Americans and their struggle with stability, experiencing the country on their own terms, getting away from economic and social demands, with many already painting themselves into corner while pursing a “traditional” life. The material originated in 2017 book by Jessica Bruder, and now Zhao hopes to bring it life for the screen, putting her faith in actress Frances McDormand (her first starring role since her Oscar-winning turn in “Three Billboards Outside Ebbing, Missouri”) to realize the specific headspace of a woman trying to find her way after losing everything, in many ways preferring the distance a nomadic life offers. It’s a character study, providing a shapeless but searing look at the hustle and reflection of such an existence, highlighting an unusual movement happening within a pained country. Read the rest at Blu-ray.com

Director Dennis Dugan befriended Adam Sandler nearly 25 years ago (where they collaborated on 1996’s “Happy Gilmore”), and he’s largely been a Happy Madison employee even since. Over the last decade, Dugan has helmed “Grown Ups” and its sequel, “Just Go With It,” and “Jack and Jill,” adding few more excruciating efforts to his stacked resume of comedy wipeouts (including “Problem Child,” “Beverly Hills Ninja,” and “Saving Silverman”). Suddenly ready to take a break from his meal ticket, Dugan tries to mature with “Love, Weddings & Other Disasters,” which is his version of an adult romantic comedy. Also taking on screenwriting duties, Dugan flails while trying to find some level of heart in a braindead endeavor, displaying uncomfortable levels of confusion when exploring one-dimensional characters and their self-destructive ways with friendship and partnership. While dealing with matters of tenderness, there’s not a single human being to be found in the feature. Read the rest at Blu-ray.com

In 2014, director Luke Greenfield scored a surprise box office success with “Let’s Be Cops,” which offered coarse entertainment to audiences happy to have it. Returning to screens six years later (a bizarre career gap), Greenfield tries the softer route to laughs with “Half Brothers,” which has its moments of slapstick, but ultimately wants to become a sensitive study of forgiveness and sibling bonding. Greenfield isn’t someone interested in boosting his helming creativity, going on autopilot for the feature, following a limp screenplay by Jason Shuman and Eduardo Cisneros that tries to deliver an opposites attract idea with road trip trimmings, but doesn’t get anywhere emotionally with the writing, and ideas for funny stuff are often unbearable. Nobody’s trying all that hard with “Half Brothers,” with digestibility the goal here, not hilarity. Read the rest at Blu-ray.com

Maybe 2020 isn’t the best year to release a movie about a crazed conspiracy theorist embarking on a journey into the heart of paranoia where he’s rewarded for his unhinged thoughts. But here’s “Wander” anyway, with screenwriter Tim Doiron using the current energy of America’s darkest subculture to inspire a slice of detective fiction, only the man on the hunt to solve a murder is a lunatic, coming into contact with the possibility that his wildest fantasies are indeed a reality. “Wander” has a decent idea for a character study, but director April Mullen doesn’t know what to do with it, out to make an itchy viewing experience that’s missing interesting characters and measured acts of hysteria. Material like this would be better suited for the literary realm, with the feature held back by crude filmmaking choices and some wild overacting by lead Aaron Eckhart, who doesn’t have the discipline for the part. Read the rest at Blu-ray.com

One can clearly see what “Ammonite” wants to express about attraction and individuality, and it’s somewhat heartbreaking to watch the film struggle to overcome its editorial and storytelling limitations. Writer/director Francis Lee (“God’s Own Country”) creates a movie about textures and secret desires, exploring the life of British paleontologist Mary Anning, but the focus here isn’t on science, instead highlighting an affair between the main character and a woman put into her care, with the lovers figuring out their passions in a short amount of time. It’s not meant to be a bio-pic, but perhaps it should’ve been one, finding Lee unable to add much flavor to the stark tale, despite working with two actresses capable of doing remarkable things. “Ammonite” has some hot-bloodedness to spark it to life, but the overall viewing experience is surprisingly dull. Read the rest at Blu-ray.com

Lawrence Michael Levine is the writer/director of “Black Bear,” out to create a cheeky, slippery mind-bender about the wilds of the creative process. He’s made a puzzle in many ways, and one with two defined levels of engagement, hoping to keep the audience on edge as he explores the depths of drama and the manufacturing of moments. “Black Bear” attempts to be a wily experience, but the viewing event is more about satisfying Levine’s loose sense of playfulness and understanding of human behavior. The first half of the feature winds up nicely, presenting tortured lives and acidic social engagement. Once Levine reveals what he’s up to at the halfway point of the endeavor, the movie collapses, transforming into a Charlie Kaufman-like tale of bent perspective and thin-ice reality. Read the rest at Blu-ray.com

Collaborations between star Melissa McCarthy and her husband, director Ben Falcone haven’t gone well in the past. The pair has created “Tammy,” “The Boss,” and “Life of the Party,” trying to find a comfortable middle between formulaic screenwriting and McCarthy’s natural gift for comedic chaos. Falcone’s not one to offer much style or wit to a production, and McCarthy often hunts for a way out of silly business, making their latest endeavor, “Superintelligence” their best offering so far, simply because it plays directly to their career interests. Falcone keeps everything easily digestible, and McCarthy is offered a chance to play a romantic lead, while the plot, which details the end of the world, isn’t pushy, securing a softer, less strained effort from the married moviemakers. Read the rest at Blu-ray.com

After spending much of his career finding ways to tangle storylines to help extend the life of his television shows, writer/director Alan Ball (“Six Feet Under,” “True Blood”) offers a simpler take on family antagonisms with “Uncle Frank.” Mixing a relationship drama with a coming out story, Ball tries to approach heavy concepts of acceptance and resistance with a somewhat lighter touch, at least for the first half of the endeavor. It’s not a comedy, but the picture remains interested in a few brighter moments of observation before it really sinks into the titular character’s experience as a frightened gay man in the 1970s dealing with a home life and a past he’s been trying to outrun for decades. “Uncle Frank” initially gives off the vibe of an engaging diversion, but Ball has a destination for the material, and it ultimately packs quite a punch. Read the rest at Blu-ray.com

While it made a fortune at the box office, there’s never been a whole lot of chatter about 2013’s “The Croods.” One of the more entertaining and funny animated efforts of the last decade, “The Croods” really delivered on most fronts, with solid writing and dynamite voice work joining a beautiful fantasy world of prehistoric sights and wild creatures. There’s been a bit of a wait for a sequel, but “The Croods: A New Age” is finally here and it’s a relief to report that the follow-up is just a much fun and colorful as the original, also reuniting viewers with a terrifically engaged cast who genuinely seem to enjoy the characters they inhabit. Director Joel Crawford makes moves to offer a slightly bigger adventure for the titular family, but it doesn’t torpedo the simple joys of the premise, even while working with a more socially aware screenplay. Read the rest at Blu-ray.com

“The Christmas Chronicles” was one of the pleasant surprises of 2018 holiday season, with the production creating a slick but engaging family film that celebrated the wonders of Santa and his magical world. A large percentage of the picture’s appeal came from star Kurt Russell, who committed to the role with complete enthusiasm, becoming a top-shelf screen Santa, exuding yuletide spirit while sneaking in some singing chops as director Clay Kaytis worked in a musical number to add a bit of the unexpected. For “The Christmas Chronicles 2,” Russell returns with possibly even more energy than before, going wonderfully big as Santa, this time joined by Goldie Hawn as Mrs. Claus for a second North Pole emergency, with director Chris Columbus (who co-scripts with Matt Lieberman) summoning a hearty fun factor with this lively adventure. Read the rest at Blu-ray.com

Co-writer/director Clea DuVall attempts to find the real meaning of Christmas with “Happiest Season,” which isn’t quite the festive bonanza it initially appears to be. DuVall and co-writer/co-star Mary Holland only deal with holiday happenings periodically, creating a film that’s more interested in addressing the stress of a closeted life and the pressures of family expectations, using the gentleness of the season to highlight the power of love as it’s tested from all sides. “Happiest Season” is a little unwieldy, with DuVall frequently unsure if she wants to make something wacky or profound, leaving the feature unsteady at times as it samples every mood available. There’s a level of sincerity to sections of the endeavor that keep it alive, feeling as though the writers are pouring their own experiences with coming out into the mix, securing a defined perspective of fear while playing with Christmas movie formula that’s not nearly as compelling as the rest of the picture. Read the rest at Blu-ray.com

“Hillbilly Elegy” is an adaptation of a 2016 memoir by conversative author J.D. Vance, which has developed a fan base on both sides of the political spectrum, with readers beguiled by the writer’s evocation of life in Kentucky and his drive to better himself through experience. And now it’s a film from director Ron Howard, who strives to bring Vance’s education to the screen, with the story offering numerous scenes of tragedy, hostility, and forgiveness, allowing screenwriter Vanessa Taylor a chance to milk charged moments for everything they’re worth. Howard aims for Oscar bait with the endeavor, which delivers a large amount of hysterics from actors who should know better, while the tale of misery turns into punishment for viewers. Netflix didn’t want me to review “Hillbilly Elegy,” and now I understand why. Once again: not every book needs to be a movie. Read the rest at Blu-ray.com

After riding an acting career that’s had its ups and downs, Josh Duhamel aims to reclaim some creative power with “Buddy Games,” making his debut as a writer/director. He’s created a raunchy comedy about best friends working things out during a custom competition, doing whatever he can to play into genre trends as he gathers a group of actors to deliver games of improvisation and manage the helmer’s appetite for gross-out situations. “Buddy Games” is a juvenile picture, but that’s Duhamel’s mission, working with WWE studios to manufacture a prime slice of broheim entertainment. That the film is spectacularly unfunny doesn’t seem to stop the production, which is determined to whiff with simple goals, seemingly obsessed to reach the bottom of the barrel when it comes to ideas for silly business. Read the rest at Blu-ray.com

“Fatman” is a Christmas movie that fits the tone of 2020, offering a frequently grim take on the magic of Santa Claus, his north pole operation, and those who feel spurned by the spirit of holiday giving. Writer/directors Eshom and Ian Nelms (“Small Town Crime”) create a dark vision of seasonal concern, but they don’t suffocate the viewer in the process, preserving bits of humor and heart as they construct a different take on holiday figures and iconography. Mel Gibson is hired to portray the titular character, and it’s appropriate casting for the production, which feeds off the star’s sandpaper-like screen presence, giving the helmers permission to take “Fatman” wherever they need to go, keeping things unpredictable and menacing. The feature has its shortcomings, but it’s an appropriate fit for today’s world, mixing simmering rage with a dollop of optimism. Read the rest at Blu-ray.com

In 1983, ABC produced “The Day After,” a television production that aimed to expose the true savagery of nuclear war for a primetime audience used to dealing with escapism. The gamble paid off for the network, which attracted 100 million viewers the night the movie aired, becoming a hot topic for some time after its debut. “Television Event” is an Australian documentary that looks into the creation of “The Day After,” with director Jeff Daniels (not the actor) detailing the origins and legacy of the project, it’s production issues, and eventual airing, looking to understand how a small but weighty idea to bring global destruction to television screens was actually achieved during the height of a new cold war. Daniels is focused and honest about creative battles and growing network fears, creating a riveting study of a landmark film. Read the rest at Blu-ray.com

The world didn’t need more “Kickboxer” sequels, but producer Dimitri Logothetis felt differently, helping to bring 2016’s “Kickboxer: Vengeance” to the screen. Not content to watch from the sidelines, Logothetis assumed directorial command of 2018’s “Kickboxer: Retaliation,” taking control of martial arts action and thickly sliced brutality. Surprisingly, the helmer didn’t tank the assignment, coming up with an impressively violent endeavor that entertained in a way few “Kickboxer” follow-ups have. Now Logothetis turns his attention to “Jiu Jitsu,” which is also an offering of bone-crunching mayhem, this time involving the worlds of comic books and science fiction. It’s a bit a stretch to buy anything “Jiu Jitsu” has to offer, but if you’re a fan of “Predator” and its many sequels, writers Logothetis and Jim McGrath are basically remaking the 1987 offering, skipping on the grit, grunts, and compelling blend of fantasy and intensity. Read the rest at Blu-ray.com